presentation for interact 2007. interfacing video capture, editing and publication in a tangible...

Interfacing video capture,editing and publication ina tangible environment

By Cati Vaucelle & Hiroshi IshiiTangible Media group

MIT Media Laboratory

From textable moviesto moving pictures

… the story of a gui that became a tui

Inspiration

When Marcel Proust writesabout having tea and cookies(madeleine), he is inspired byhaving the experience himself,which brings back memoriesto his mind.

Textable Movie

By immersion into their ownfootages connected tomemories, people couldbecome engaged into tellingrich, and passionate stories,based on past experience.

Reference: Vaucelle, C., and Davenport, G. ASystem to Compose Movies for Cross CulturalStorytelling: Textable Movie, In S. Göbel et al.(Eds.): TIDSE 2004

Ideas behind textable movie

open-ended toolthat allows anyone

to become "video-jockey"

enhance accessibilityto media making

context of storytellingwith real time movie making

key points

a command-driven, responsivesystem which mediates, in real time,

the nature (the visualization) of thevideo segments displayed on

the screen

maps descriptive text to media, e.g.various words describing a movie

allows multilingual input, e.g. English,French, Italian

responds immediately to input, e.g.text typed

transcribes text stories to media, e.g.video sequences, sound effects,

video effects

International workshop

Mechanismfrom shooting videos to becoming"video-jockey”

The workshop features a design cycle that begins withconcept development and continues onto storyboarding,video production and editing;

as it is realized, participants test and evaluate their video-stories using Textable Movie.

From GUI to TUI

The tangible potential of the direct use of videocontainer for movie creation presents threeopportunities that are critical to this research

- a need for a more transparent relationship

between shooting and editing

- enhance collaboration at various levels ofproduction: from shooting to experiencing to

creating a composed sound-video

- privilege improvisation for spontaneous creativity

- the reinvestigation of the video & soundmedium, allowing a direct and immediate

understanding of the effects of combining theseelements together

Participatory design sessions

Collaboration with the Umea Institute ofDesign - research partner Diana Africano

Moderators from Ireland and Sweden organizeddesign sessions with children as co-partners over aperiod of 8 months.Moderators brought & test existing technology(RFID tags, Ipaqs, cell phones)

Participatory design sessions - Craft

In parallel design sketches

First working prototypes

Participatory design sessions

Participatory design sessions - hardware

First tests - video

QuickTime™ and aMPEG-4 Video decompressor

are needed to see this picture.

First GUI - video

Collaborative Content Creation

Moving Pictures enables a meaningful, spontaneous and collaborative approachto video creation, selection and sequencing.

The tangible metaphor of a token symbolizes a single shot and refers to thedifferent shots in a storyboard.

Building the final prototype

Moving PicturesWe synthesize performance and

editing to facilitate a flow between

improvisation and

postproduction of a movie.

Our multi-user system is targeted

for 10-12 year olds. It integrates

different layers of complexity,from digitizing the media and

performing a movie, to storyboardinga more complex narrative.

Reference: Vaucelle, C., Africano, D.,Davenport, G., Wiberg, M., and Fjellstrom,O. 2005. Moving pictures: looking out/looking in.In ACM SIGGRAPH 2005

storyboard

+

video

jockey

camera

camera

Two video camera

tokens

Blue and yellow tokens to record

The system is composed of:two video cameras with token recognition, a video jockey to perform instantlythe videos and sounds captured, a storyboard to compose a final movie.

General user interaction observationsObserving morethan 200 childrenfrom Boston, Dublinand Umea showedhow intuitive thesystem is.

Observations - collecting video clips on the streets of Dublin

Observations - getting to know the Moving Pictures platform

by retrieving their collected data

Observations - figuring out the video storyboard without explanation

Video

Results - children as co-designersGroup 1 of 7 12 year-old girls and group 2 of 5 11 year-old boys and6 11 year-old girls.

General interaction: Half of the children understood it withoutinstruction.

Confidence in the system: The lack of explanation on what to dowith Moving Pictures made the children exchange ideas andexplore the system with each other.

The use of the tokens: The children actively used the tokens for dataretrieval.

Results - children as co-designersThe level of complexity of the interaction: Half of the children retrieveddata created by others and the other half mixed their own footagewith sound effects.

MP cameras versus professional cameras: Children found easy toremember how to interact with them and easy to use. Somechildren like using a smaller camera to carry in the pocket.

Round shape of the table: Preference for a round shaped table tointeract with simultaneously as well as to move around. According tothe children, a square table would have meant a four user table.

Table size: Children suggested that the table should be smaller if usedin a home. However, the table was too small to accommodate morethan eight users at a time.

Results - children as co-designersGroup Size: If group bigger than 20, not all participants got a chanceto interact during the process of previewing and arranging moviesand sounds.

Effectiveness of Group Work: Children recommended the workinggroups to be smaller, but they also expressed that it was more funto work in a large group. In contrast, some children expressed thatworking in a group made the work easier and more effective,because participants helped each other in generating ideas formovie making.

Agreement vs disagreement: Many children considered disagreementas being a negative factor in their creative work. They explainedhow they made efforts in achieving a consensus.

Final evaluationOur final evaluation consistedof two two-weeks workshop.

Children participatedvoluntarily.

Participants are from: - a localschool in Umea, Sweden- a tailored workshop on videomaking in Dublin, Ireland.

Final evaluationIn all sessions, children were freeto choose their role in the film-making activity.

Driven by their personal interests,they chose to be film script-writers, director, actors, camera-men, or scenographers.

Children and moderatorsdiscussed and clarified the tasksfor each role during the sessions.

Most children chose the samerole repeatedly.

Themes for the movies

Children chose and selected the following themes:

. Journalistic interviews limited to five shots

. Explorations in the city using more than ten shots

. Five individual shots of the children in front of theirfavorite Dublin place. A five shots criminal story. A theater play using ten shots

The most popular movies were the individual shotsand the criminal story

Movie example 1- individual shots of the children in Dublin

Movie example 2 - a criminal story

Results - Individual shots vs a story

The most complex features of MP were used during a narrative movie

Results - Cultural exchange ?

The students did not want to edit the other country’s final movies.

They were excited to watch the variations in the movies and to continue them.

This shows potential for cultural exchange through video making.

Exchange - a movie that started in Dublin and finished in Umea

Discussion - benefits of TUI such as Moving Pictures

. Allows quick revision of footage

. Invites for improvisation

. Engages in group collaboration

. Sustains children’s attention - with iMovie children lost focus and patience during editing (study for Textable Movie)

. Allows experimentation with movie sequences and alternation of shots

. Constraints children in selecting what is important during capturing (a more natural process for children)

Discussion - limitations of TUI such as Moving Pictures

Architecture. Needs scalability design to centralize data for international exchange. Technology should assist the user while capturing content. GUI should better assist the user while navigating through theretrieved content. New communication technology for multiple video platforms

Moving Pictures design features. RFID -> Pattern based technology with any cell phone. Moving Pictures should offer more editing possibilities. We testedtangible tokens as transitions and physical cuts. Moving Pictures should allow users to record and play with theirown sounds

ConclusionInterface video capture,editing and publication in aself-contained platform

Understand interfaces thatempower people inexpressing and sharingideas about their socialenvironment

Systems for constructingpersonal content

Acknowledgment Media Lab Europe where

Textable Movie + Moving Pictures emerged. GloriannaDavenport who supported this reseach from 2002-2005. DianaAfricano and Oskar Fjellstrom for our collaborative research

on Moving Pictures in 2004 at the Umea Institute of Designin Sweden. Joakim Salberg for the model making. JennyFredriksson for co-observing the participatory design sessions in

Sweden. Michael John Gorman, Leo Mc Kenna, the Ark inDublin, Vincent Le Bail, Eoghan Kidney, the School of Ostermalm.Brendan Tangney at Trinity College. Diana Africano, Adam Boulanger,the conference reviewers for their feedback on the paper. The tangiblemedia group - past and present members - the storynetworks group andCarol Strohecker at MLE and The MIT Media Lab community.

Contact

Interfacing Video Capture, Editing and Publication in a Tangible Environment

www.media.mit.edu/~cati

Cati Vaucelle and Hiroshi IshiiMIT Media LaboratoryTangible Media Group

Research group’s web site tangible.media.mit.eduEmail {cati, ishii}@media.mit.edu